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https://en.wikipedia.org/wiki/File:FuseliArtistMovedtoDespair.jpg
FUSELI, John Henry (b. 1741, Zürich, d. 1825, London) The Artist Moved by the Grandeur of Antique Fragments 1778-79 Red chalk on sepia wash, 415 x 355 mm Kunsthaus, Zürich The young Henry Fuseli, in the late 1770s, portrayed himself …
https://www.wga.hu/html_m/f/fuseli/02antiqu.html
The Artist Moved by the Grandeur of Antique Fragments. 1778-79. Red chalk on sepia wash, 415 x 355 mm. Kunsthaus, Zurich. The young Henry Fuseli, in the late 1770s, portrayed himself reduced to despair before the vastness of Rome's remains. Since he had spent eight years studying in the city, his awe was doubtless exaggerated, but it was also a premonition of the powerful emotions that were to be …
https://en.wikipedia.org/wiki/Henry_Fuseli
Henry Fuseli RA (/ ˈ f juː z ə l i, f juː ˈ z ɛ l i / FEW-zə-lee, few-ZEL-ee; German: Johann Heinrich Füssli; 7 February 1741 – 17 April 1825) was a Swiss painter, draughtsman and writer on art who spent much of his life in Britain.Many of his works, such as The Nightmare, deal with supernatural subject-matter.He painted works for John Boydell's Shakespeare Gallery, and created his ...Notable work: The Nightmare
https://www.theartstory.org/artist/fuseli-henry/
The painting is unusual, however, since Fuseli very rarely painted biblical subjects. Although ordained as a priest, he moved away from religious doctrine, declaring himself a non-Christian in the late 1760's. Although ostensibly a religious painting, Fuseli seems to have been drawn to the subject on its own terms as a mythological dream sequence.Born: Feb 07, 1741
https://www.theartstory.org/artist/fuseli-henry/artworks/
The painting is unusual, however, since Fuseli very rarely painted biblical subjects. Although ordained as a priest, he moved away from religious doctrine, declaring himself a non-Christian in the late 1760's. Although ostensibly a religious painting, Fuseli seems …
https://www.uh.edu/engines/epi462.htm
The artist was Henry Fuseli, a Swiss who moved to London in 1779. His last Swiss painting showed soldiers swearing an oath on their swords -- typical 18th-century art about revolution. It was workmanlike stuff, but Fuseli's mind was elsewhere. He wanted his paintings to be revolution, not just to glorify it.
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